\nRichard Strauss' "The Happy Workshop" for sixteen wind instruments, which was completed in his later years, aimed to emulate Mozart's crystal-clear sound.
\nWoodwind instruments gained popularity among the nobles with the support of French King Louis XIV, and playing the flute became extremely fashionable throughout Europe. The flute and double-reed woodwind instruments were extensively developed in the French court, which is why Mozart was such a master of them. Jean-Baptiste Lully also went along with Louis XIV's preferences and incorporated woodwind instruments into the string orchestra, laying the foundation for future orchestras. Given the loud and extravagant trends, it is not surprising that the arrangement of the large and lively Paris Symphony surpasses Mozart's other symphonies.
\nRichard Strauss expanded the original woodwind quintet in his "The Happy Workshop": there is double of each of the five instruments, then he added two French horns, followed by a clarinet, a basset horn, a bass clarinet, and a double bassoon. This formation has the same number of French horns as a large orchestra, plus the addition of other bass woodwinds thickens and darkens the overall sound.
\n"The Happy Workshop" was written at the end of World War II when Germany's defeat was inevitable. Although the Nazis treated Richard Strauss with courtesy, they did not really accept him; and Richard Strauss, in turn, just maintained basic politeness. Under such circumstances, the composer turned to Mozart's innocence for inspiration, which further highlighted the darkness of the world's situation.
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Program
\n\nR. Strauss: Symphony for Wind Instruments "The Happy Workshop"
\n\nW. A. Mozart: Flute Concerto No.1 in G Major, K. 313
\n\nW. A. Mozart: Symphony No. 31 in D Major, K. 297 "Paris"
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Creative and Production Team
\n\nConductor & Flute|Karl-Heinz Schütz
\n\nOrchestra|National Taiwan Symphony Orchestra
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